Your Friends & Neighbors (1998)

It amazes me sometimes, when I miss the comedy in movies labeled as comedies. On occasion, it has to do with time. Take NETWORK (1976), for example. According to the listing, it was supposed to be a dark comedy. What it turned into was an appropriation of the future, a future that we are now stuck in, so all of the humor is lost.It's been a long time since I watched this film, and so it's possible I won't be able to grasp it's higher functions (assuming it has any). The main plot seems to be about three women and three men who are so bored with existence that they can't seem to derive happiness out of anything, and spend most of their time attempting to derive happiness out of the sexual pleasures of other people. Jerry (Ben Stiller) is with Terri (Catherine Keener). Jerry decides he'd like a fling with Mary (Amy Brenneman), who's with Barry (Aaron Eckhart. A chubby, pre-DARK KNIGHT Aaron Eckhart. Not that there was anything wrong with his performance. I just wonder why he was so chubby then, as opposed to now). Terri wants a fling with Cheri (Nastassja Kinski). Cary (Jason Patric) doesn't seem to want anything with anybody, including the human race itself, while Barry is apparently getting more out of his right hand than he is any sexual partner.It's funny that when you write it out like this, you can see why this would make a funny movie. So I have to wonder why it didn't make me laugh.Did I miss something? Sex is the primary motivator here, there's no mention of love anywhere, from anybody. There's a plot device of the question of who the men have had the best sex with, Barry's answer being his hand and Cary's answer being downright terrifying (his male rape victim in high school, for the record. I don't know why that's funny, or even if it's SUPPOSED to be funny). I can't remember Jerry's answer. Must not have been that interesting. Maybe he said something dumb, like "Terri, of course!" I don't know. I don't think it matters.There is a question that comes up, for people like this, that's never answered in the film: How did these people meet? WHY did they meet, and then WHY did they end up in bed together, pretending to have relationships where there is no evidence of any kind that they are even CAPABLE of them? But, I digress.The resolving plot device on the other side of this mess of bed-jumping, Cary's theatrical flipping out about unsatisfying women and berating Terri, and jokes about how having sex with a woman is better than having sex with Ben Stiller (a decent argument, maybe) leaves all of them more miserable when they came in (even Barry, though I honestly can't figure out WHY. He started this tale loving his hand, and ends it that way. I guess maybe he needs more in life? Who would've guessed??). Despite their need to change partners, Jerry begs to go back to Terri, Cheri wants Terri to actually talk to her (something Terri refuses to do, because I guess sex is all she's looking for?) Barry talks to a phone for sex and ends up disappointed for some reason, and Mary and Cary end this visage of shallowness with the question that's dominated the dissolution of these strange intermingle-ings. "Maybe it's me," they all ask, except Cary, who appears at the very end to play with Amy Brenneman's breasts.Strangely enough it's Barry who wins for being the only character I seemed to care about. I remember him as being a nice enough guy, and the part of him loving his own hand is more of a practical answer to a question answered in a boy's locker room rather than a joke. I guess his loneliness at the end is supposed to mean something, like he's supposed to be with somebody, but he's the only character that never really goes bed-hopping (besides the insane Cary), so I fail to understand the point of what I see.I really think that Cary, a doctor who despises people, threatens people, demeans and berates people, is supposed to be the main article of comedy here, because his acting is by far the most theatrical. The only trouble is, he's only amusing in that way a friend of yours jokes about taking a rifle to the top of a clock tower—it's only funny as long as he doesn't MEAN IT.Cary means it. And illustrates it. He is not well with the world.I don't get this movie. It's hard for me to care for anybody, impossible for me to laugh at anything, and when it's all said and done, a bunch of shallow people ponder their existence by wondering if their daily choices of doing everything simply out of interest for themselves could be the cause of their misery. And since that sums up the film, let me spare you the trouble of watching it by answering their question for them: YES, IT IS.

There are just so many films just like this, that I can't really say much for Your Friends & Neighbors, mainly because it offers very little to make in memorable or distinguishable in any way. A group of people in their 30's spend the film talking about their unsatisfying relationships and sex lives and cheating on each other with each other; it has all the markings of a 90's theater play, and everything it takes to be an indie darling, including a cast of some of the more popular indie-film stars of the time (this at a time when Ben Stiller was still known more for Reality Bites than for comedies like Zoolander). The acting is indeed good - Jason Patric and Catherine Keener especially, and the film does have a few good scenes, wittily written and well delivered. But in the end, the characters are all completely unlikable and forgettable - they're all characterized solely by their insecurities, shallowness, selfishness, delusions and sexual quirks, and there's nothing there to make the viewer care at all about any of them or about anything that happens to them - and not much happens, at that. The film is the very definition of mediocrity and forgettability.

"Your Friends and Neighbors" (1998) is the second film by director/writer Neil LaBute and it tells the story of three couples and their complicated friendships and relationships. I've seen it more than once during the last couple of days - and I found it incredibly clever written, well acted (especially by Jason Patric and Catherine Keener - their only scene together was the second best in the movie - so dynamic and tight) and skillfully directed. LaBute certainly has a very unique sense of humor and he knows well the history of cinema. To give all characters the names that rhyme - Mary, Barry, Terri, Cheri, Cary and Jerry - was a clever idea - the characters are interchangeable in their relationships and it does not matter really, who is with whom - Mary with Barry or with Cary or Jerry or Barry with Barry, and Cheri with Terri or Jerry? The important thing is that they are selfish and often unpleasant and despicable people who are not happy with themselves and can't make happy their spouses or partners. Another interesting trick - the repeating scene in the Art gallery that starts with exactly the same words for each character but leads to different developments. I mentioned that LaBute knows his movies. Have you noticed the poster from Goddard's Le Mépris, (1963) aka "Contempt" with Brigitte Bardot? "Contempt" features one of the most fascinating and longest scenes of a breakup ever filmed. The breakup scene between Terri (Catherine Keener) and Jerry (Ben Stiller) started like in "Contempt" but it only lasted a few minutes and it was a good scene. Actually, I loved all scenes with Catherine Keener and if I have to choose one character that I liked, it would be Terry. Seems that Charlie Kaufman might have seen LaBute's movie because Terry and Maxine from "Being John Malkovich" have a lot in common. I was actually waiting for Terry to say to Jerry, "The thing is if you ever get me, you would not know what to do with me". Jason Patric was a revelation - I don't know him very well but I remember that he gave a very good performance in "Narc". As for the scene in a steam room, it is not just the best of the film; it is one of the best scenes - monologues ever. I know not many would agree with me but the scene is as powerful, unforgettable and strangely erotic as the monologue in Bergman's "Persona". LaBute's writing, his camera, and mesmerizing performance by Patric made this scene an instant classic. The film is not perfect and sometimes it drags but overall I found it interesting and enjoyable. You don't have to like the characters in order to like and appreciate the film. Sadly, the beautiful, sensual and talented Nastassja Kinski (Cherri) does not have much to play while Ben Stiller does and I am not his fan - even in this film. LaBute's usage of "Metallica"s "Enter Sandman" (performed by Apocalyptica) during the opening and the closing credits instantly pulled me in and Bryony Atkinson's song "My Hollow" is terrific.

One of the most fascinating moments in this film is the scene in which the three men each tell about their most exciting sexual liaison. Jason Patric's anecdote is amazing, both as written and as acted. A virulent misogynist with no empathy for the women he has used sexually, he tells a story in which a bunch of jocks, including him, rape a homosexual to show what contempt they have for him. The Patric character is last in line and in describing his encounter with the abused rapee, he expresses more than a deep empathy for the victim, but in fact something like respect and love. The implications inherent in his anecdote have kept on resonating for me ever since, but the capper to it all is how powerfully Patric tells the story. I wouldn't particularly want to re-see the rest of the movie, but I could watch that scene again and again. Why is Patric so underrated? He was also very good in Incognito.